Today I have a book of poems about the Filipinx experience in the UK, a collection of short stories reflecting on racial injustice, a monograph on a bird that spells summer for many of us, and a biographical investigation into a little-understood medical condition.
Antiemetic for Homesickness by Romalyn Ante
I was drawn to this debut collection by the terrific title and cover, but also by the accolades it received: it was on the Dylan Thomas Prize longlist and the Jhalak Prize shortlist. I hope we’ll see it on the Sunday Times Young Writer of the Year Award shortlist, too. Ante grew up in the Philippines but at age 16 joined her mother in the UK, where she had moved years before to work as a nurse in the NHS. She has since followed in her mother’s footsteps as a nurse – indeed, overseas Filipinx workers (Jamaicans, too) are a mainstay of the NHS.
Ante remembers the years when her mother was absent but promised to send for the rest of the family soon: “You said all I needed to do was to sleep and before I knew it, / you’d be back. But I woke to the rice that needed rinsing, / my siblings’ school uniforms that needed ironing.” The medical profession as a family legacy and noble calling is a strong element of these poems, especially in “Invisible Women,” an ode to the “goddesses of caring and tending” who walk the halls of any hospital. Hard work is a matter of survival, and family – whether physically present or not – bolsters weary souls. A series of short, untitled poems are presented as tape recordings made for her mother.
Food is inextricably entwined with memory (reminding me of Nina Mingya Powles’s approach in Tiny Moons) and provides some of the standout metaphors, especially in “Patis” and “Ode to a Pot Noodle.” Ante uses a lot of alliteration and adapts various forms. I especially liked “Tagay!”, a traditional drinking song, and “Mateo,” printed in the shape of a pound sign. The nuanced look at the immigrant experience reminded me of Jenny Xie’s Eye Level. Movement entails losses as well as benefits. The focus on the Filipinx experience also made me think of America Is Not the Heart. My favourite single poem was “The Making of a Smuggler,” which opens “Wherever we travel, we carry / the whole country with us – // our rice terraces are folded garments, / we have pillars of trees, a rainforest // on a hairbrush.”
“Gone are the nights he steals / the moon with a mango picker / and swaps it for her pocket mirror”
“The yellow admission papers in my hands escaped / flustering at my face into a flight of orioles.”
“I am halved in order to be whole – / I rebuild by leaving / everything I love.”
With thanks to Chatto & Windus for the free copy for review.
The Office of Historical Corrections by Danielle Evans
To boil these six stories and a novella down to the topic of race in America risks painting them as solemn or strident – more concerned with meaning than with art – when the truth is that they are playful and propulsive even though they keep cycling back to bereavement and injustice. Several of the protagonists are young Black women coming to terms with a loss.
In “Happily Ever After,” Lyssa works in the gift shop of a Titanic replica and is cast as an extra in a pop star’s music video. Mythical sea monsters are contrasted with the real dangers of her life, like cancer and racism. “Anything Could Disappear” was a favourite of mine, though it begins with that unlikely scenario of a single woman acquiring a baby as if by magic. What starts off as a burden becomes a bond she can’t bear to let go. A family is determined to clear the name of their falsely imprisoned ancestor in “Alcatraz.” In “Richard of York Gave Battle in Vain” (a mnemonic for the colours of the rainbow), photojournalist Rena is wary about attending the wedding of a friend she met when their plane was detained in Africa some years ago. The only wedding she’s been in is her sister’s, which ended badly.
Mistakes and deceit seem to follow these characters. In the title novella that closes the book, Cassie and her colleagues combat fake news, going around putting correction labels on plaques that whitewash history. When she and her former colleague meet up in Wisconsin to find the truth behind a complex correction case, a clash with a white supremacist group quickly turns pedantry into a matter of life and death. The story I’d heard the most about beforehand was “Boys Go to Jupiter,” about a college girl who dons a Confederate flag bikini, not caring what message it sends to others in her dorm. It turns out she has history with a Black family, but has chosen to airbrush this experience out of her life.
There was only one story I didn’t care for, “Why Won’t Women Just Say What They Want,” about a celebrity who turns apologizing into performance art. Overall, this is a very strong collection I would recommend to readers of Brit Bennett and Raven Leilani, with some stories also reminding me of recent work by Curtis Sittenfeld and Mary South. I’ll be sure to seek out Evans’s previous book (also short stories), too.
With thanks to Picador for the proof copy for review.
The Screaming Sky by Charles Foster
The other week I was volunteering at our local community garden and looked up to see a dozen common swifts wheeling over the Kennet & Avon canal and picking off insects among the treetops. I hope this fellow Foster (for whom my husband was once confused on a nature conference attendee list) would be proud of me for pausing to gaze at the birds for a while. My impression of the author is as a misanthropic eccentric. A Renaissance man as well versed in law and theology as he is in natural history, he’s obsessed with swifts and ashamed of his own species: for looking down at their feet when they could be watching the skies; for the “pathological tidiness” that leaves swifts and so many other creatures no place to live.
The obsession began when he was eight years old and someone brought him a dead swift fledgling for his taxidermy hobby. Ever since, he’s dated the summer by their arrival. “It is always summer for them,” though, as his opening line has it. This monograph is structured chronologically. Much like Tim Dee does in Greenery, Foster follows the birds for a year: from their winter territory in Africa to the edges of Europe in spring and then to his very own Oxford street in high summer. When they leave, he’s bereft and ready to book a flight back to Africa.
Along the way, Foster delivers heaps of information: the fossil evidence of swifts, how they know where to migrate (we have various theories but don’t really know), their nesting habits and lifespan, and the typical fates of those individuals that don’t survive. But, thumbing his nose at his “ex-friend” (a closed-minded biologist he repeatedly, and delightfully, rails against), he refuses to stick to a just-the-facts approach. Acknowledging the risks of anthropomorphizing, he speaks of swifts as symbols of aspiration, of life lived with intensity. He believes that we can understand animal emotions analogously through our own, so that, inappropriate as such words might seem, we can talk about what birds hope and plan for. He scorns reductive ecosystem services lingo that defines creatures by what we get out of them.
Also like Dee, Foster quotes frequently from poetry. His prose is full of sharp turns of phrase and moments of whimsy and made me eager to try more of his work (I know the most about but have not yet read Being a Beast).
Swifts know the roar of lions better than the roar of the M25, the piping of hornbills better than the Nunc Dimittis of parish Evensong … Are memories of our eaves spiralling high above the Gulf of Guinea? … They don’t seem to prevaricate. One moment they’re there, the next they’re off, diving straight into the journey. It’s the way we should run into cold water.
As I’ve found with a number of Little Toller releases now (On Silbury Hill, Snow, Landfill), knowledge meets passion to create a book that could make an aficionado of the most casual of readers. Towards the close I was also reminded of Richard Smyth’s An Indifference of Birds: “When Homo sapiens has gone there will be lots of ideal swift holes in the decaying buildings we’ll leave behind.” It’s comforting to think of natural cycles continuing after we’re gone … but let’s start making the space for them now. Jonathan Pomroy’s black-and-white illustrations of swift behaviour only add to this short book’s charms.
With thanks to Little Toller Books for the free copy for review.
Waiting for Superman: One Family’s Struggle to Survive – and Cure – Chronic Fatigue Syndrome by Tracie White
Like Suzanne O’Sullivan’s books (most recently, The Sleeping Beauties), this is presented as an investigation into a medical mystery. White, a Stanford Medicine journalist, focuses on one family that has been indelibly changed by chronic fatigue syndrome – now linked with myalgic encephalomyelitis and termed ME/CFS for short. Whitney Dafoe was a world traveller and promising photographer before, in 2010, a diagnosis of ME/CFS explained his exhaustion and gastrointestinal problems. By the time White first met the family in 2016, the thirtysomething was bedbound in his parents’ home with a feeding tube, only able to communicate via gestures and rearranging Scrabble tiles. He couldn’t bear loud noises, or to be touched. At times he was nearly comatose.
Whitney’s father, Ron Davis, is a Stanford geneticist whose research has contributed to the Human Genome Project. He has devoted himself to studying ME/CFS, which affects 20 million people worldwide yet receives little research funding; he calls it “the last major disease we know nothing about.” Testing his son’s blood, he found a problem with the citric acid cycle that produces ATP, essential fuel for the body’s cells – proof that there was a physiological reason for Whitney’s condition. Frustratingly, though, a Stanford colleague who examined Whitney prescribed a psychological intervention. This is in line with the current standard of care for ME/CFS: a graded exercise regime (nigh on impossible for someone who can’t get out of bed) and cognitive behavioural therapy.
White delves into Whitney’s past, looking for clues to what could have triggered his illness (having mono in high school? a parasite he picked up in India?). She also goes back to the mid-1980s to consider the Lake Tahoe outbreak of ME/CFS, whose victims “looked too healthy to be sick and were repeatedly disbelieved.” The media called it “yuppie flu,” downplaying the extreme fatigue involved. White also meets Laura Hillenbrand, author of Seabiscuit, who suffers from ME/CFS and managed to write her bestselling books from bed. Like Whitney, she only has a certain allotment of energy and mustn’t use it up too fast.
- A neat connection: Stephanie Land, author of Maid, was Whitney’s ex-girlfriend when he was 19 and living in Alaska; she wrote a Longreads article about their relationship.
- The title is from a Flaming Lips lyric and expresses Whitney’s trust in his dad’s ability to cure him; the U.S. title is The Puzzle Solver and the working title was The Invisible Patient.
With thanks to Atlantic Books for the free copy for review.
Would you be interested in reading one or more of these?
Typically for the late August bank holiday, it’s turned chilly and windy here, with a fair bit of rain around. The past two weeks have felt more like autumn, but I’ve still been seeing out the season with a few summery reads.
What makes for good summer reading? I love reading with the seasons, picking up a book set during a heat wave just as the temperature is at a peak, but of course there can also be something delicious about escaping by reading about Arctic cold. Marcie of Buried in Print wrote here that she likes her summer books to offer just the right combination of the predictable and the unexpected, and that probably explains why I’m more likely to dip into genre fiction in the summer than at any other time of year. To her criteria I would also add addictiveness and a strong sense of place so as to be transporting – especially important this year when so many of us haven’t been able to have the vacations we might have planned on.
My best two summer binge reads this year were Rodham and Americanah; my two summery classics, though more subtle, were also perfect. Mostly Dead Things by Kristen Arnett, which I’m reading for a Shiny New Books review, has also felt apt for its swampy Florida setting. More recently, I picked up a couple of books with “sun” in the title, plus two novels set entirely in the course of one summer. Two of my selections are also towards my project of reading all of the Women’s Prize winners by November so I can vote on my all-time favorite.
Here comes the sun…
Half of a Yellow Sun by Chimamanda Ngozi Adichie (2006)
Adichie filters an epic account of Nigeria’s civil war through the experience of twin sisters, Olanna and Kainene, and those closest to them. The wealthy chief’s daughters from Lagos drift apart: Olanna goes to live with Odenigbo, a math professor; Kainene is a canny businesswoman with a white lover, Richard Churchill, who is fascinated by Igbo art and plans to write a book about his experiences in Africa. Gradually, though, he realizes that the story of Biafra is not his to tell.
The novel alternates between the close third-person perspectives of Olanna, Richard and Ugwu, Odenigbo’s houseboy, and moves between the early 1960s and the late 1960s. These shifts underscore stark contrasts between village life and sophisticated cocktail parties, blithe prewar days and witnessed atrocities and starvation. Kainene runs a refugee camp, while Ugwu is conscripted into the Biafran army. Violent scenes come as if out of nowhere, as suddenly as they would have upturned real lives. A jump back in time reveals an act of betrayal by Odenigbo, and apparently simple characters like Ugwu are shown to have hidden depths.
In the endmatter of my paperback reissue, Adichie writes, “If fiction is indeed the soul of history, then I was equally committed to the fiction and the history, equally keen to be true to the spirit of the time as well as to my artistic vision of it.” Copious research must have gone into a book about events that occurred before her birth (both of her grandfathers died in the conflict), but its traces are light; this is primarily about storytelling and conveying emotional realities rather than ensuring readers grasp every detail of the Biafran War. This was my second attempt to read the novel, and while again I did not find it immediately engaging, by one-quarter through it had me gripped. I’m a firm Adichie fan now, and look forward to reading her other three new-to-me books sooner rather than later.
Orange Prize (now Women’s Prize) for Fiction winner, 2007
Source: Birthday gift from my wish list some years back
The Shadow of the Sun: My African Life by Ryszard Kapuściński (1998)
[Translated from the Polish by Klara Glowczewska in 2001]
Kapuściński was a foreign correspondent in Africa for 40 years and lent his name to an international prize for literary reportage. This book of essays spans several decades and lots of countries, yet feels like a cohesive narrative. The author sees many places right on the cusp of independence or in the midst of coup d’états – including Nigeria, a nice tie-in to the Adichie. Living among the people rather than removed in some white enclave, he develops a voice that is surprisingly undated and non-colonialist. While his presence as the observer is undeniable – especially when he falls ill with malaria and then tuberculosis – he lets the situation on the ground take precedence over the memoir aspect. I’m only halfway through, but I fully expect this to stand out as one of the best travel books I’ve ever read.
Evocative opening lines:
“More than anything, one is struck by the light. Light everywhere. Brightness everywhere. Everywhere, the sun.”
Source: Free bookshop
It happened one summer…
A Crime in the Neighborhood by Suzanne Berne (1997)
Berne, something of a one-hit wonder, is not among the more respected Women’s Prize alumni – look at the writers she was up against in the shortlist and you have to marvel that she was considered worthier than Barbara Kingsolver (The Poisonwood Bible) and Toni Morrison (Paradise). However, I enjoyed this punchy tale. Marsha remembers the summer of 1972, when her father left her mother for Aunt Ada and news came of a young boy’s sexual assault and murder in the woods behind a mall. “If you hadn’t known what had happened in our neighborhood, the street would have looked like any other suburban street in America.”
Laid up with a broken ankle from falling out of a tree, 10-year-old Marsha stays out of the way of her snide older twin siblings and keeps a close eye on the street’s comings and goings. Like Harriet the Spy or Jimmy Stewart’s convalescent character in Rear Window, she vows to note anything relevant in her Book of Evidence to pass on to the police. Early on, her suspicion lands on Mr. Green, the bachelor who lives next door. Feeling abandoned by her father and underappreciated by the rest of her family, Marsha embellishes the facts to craft a more exciting story, not knowing or caring that she could ruin another person’s life.
The novel is set in Montgomery County, Maryland, where I grew up, and the descriptions of brutally humid days fit with my memory of the endless summer days of a childhood in the Washington, D.C. area. Although I usually avoid child narrators, I’ve always admired novels that can point to the dramatic irony between what a child experiences at the time and what a person can only understand about their situation when looking back. Stylish and rewarding.
Orange Prize (now Women’s Prize) for Fiction winner, 1999
Source: Free bookshop
Modern Lovers by Emma Straub (2016)
Just as the Berne is a coming-of-age story masquerading as a mystery, from the title and cover this looked like it would be chick lit, but – though it has an overall breezy tone – it’s actually pretty chewy New York City literary fiction that should please fans of The Nest and/or readers of Jennifer Egan and Ann Patchett.
Elizabeth Marx and Zoe Kahn-Bennett have been best friends ever since starting the student band Kitty’s Mustache at Oberlin. Now in their forties with a teenager each, they live half a block apart in Brooklyn. Zoe and her wife Jane run a neighborhood restaurant, Hyacinth; their daughter Ruby is dragging her feet about college and studying to retake the SAT over the summer. Elizabeth, a successful real estate agent, still keeps the musical flame alive; her husband Andrew, her college sweetheart from the band, is between jobs, not that his parents’ money isn’t enough to keep him afloat forever; their son, Harry, is in puppy love with Ruby.
Several things turn this one ordinary-seeming summer on its head. First, a biopic is being made about the Kitty’s Mustache singer turned solo star turned 27 Club member, Lydia, and the filmmaker needs the rest of the band on board – and especially for Elizabeth to okay their use of the hit song she wrote that launched Lydia’s brief career. Second, Andrew gets caught up in a new cult-like yoga studio run by a charismatic former actor. Third, the Kahn-Bennetts have marital and professional difficulties. Fourth, Harry and Ruby start sleeping together.
Short chapters flip between all the major characters’ perspectives, with Straub showing that she completely gets each one of them. The novel is about reassessing as one approaches adulthood or midlife, about reviving old dreams and shoring up flagging relationships. It’s nippy and funny and smart and sexy. I found so many lines that rang true:
Elizabeth was happy in her marriage, she really was. It was just that sometimes she thought about all the experiences she’d never gotten to have, and all the nights she’d listened to the sound of her husband’s snores, and wanted to jump out a window and go home with the first person who talked to her. Choices were easy to make until you realized how long life could be.
Andrew was always surprised by people’s ages now. When he was a teenager, anyone over the age of twenty looked like a grown-up, with boring clothes and a blurry face, only slightly more invisible than Charlie Brown’s teacher, but life had changed. Now everyone looked equally young, as if they could be twenty or thirty or even flirting with forty, and he couldn’t tell the difference. Maybe it was just that he was now staring in the opposite direction.
“I mean, it’s never too late to decide to do something else. Becoming an adult doesn’t mean that you suddenly have all the answers.”
I’ll definitely read more by Straub. I’d especially recommend picking this up if you enjoyed Writers & Lovers.
Source: Free bookshop
What was your best summery read this year?
I’m a Six Degrees regular now: this is my sixth month taking part. This time (see Kate’s introductory post) we have all started with Siri Hustvedt’s What I Loved (2003). Narrated by a professor and set between the 1970s and 1990s, it’s about two New York City couples – academics and artists – and the losses they suffer over the years.
#1 The readalike I chose when I read What I Loved for a Valentine’s Day post in 2017 was The Suicide of Claire Bishop by Carmiel Banasky, which I’d covered for Foreword Reviews in 2015 (see here); it shares the themes of modern art and mental illness.
#2 Death + a “bishop” leads me to Death Comes for the Archbishop (1927), which vies with My Ántonia for the top spot from the six novels I’ve read so far by Willa Cather. It’s set in Santa Fe, New Mexico in the nineteenth century. I read it shortly after my trip to Santa Fe for the D.H. Lawrence Society of North America conference in the summer of 2005.
#3 Although I don’t think I’ve read a Lawrence novel in the past 15 years, I still enjoy reading about him, e.g. in Frieda by Annabel Abbs. My next biographical novel that includes DHL and his wife as characters will be Zennor in Darkness by Helen Dunmore (1994).
#4 Although it’s mostly set in London among university friends now in their late thirties or early forties, a few late scenes of The Group by Lara Feigel (brand new; I’ll be reviewing it in full later this month) are set in Zennor, Cornwall.
#5 The other book I’ve read by Lara Feigel is Free Woman, her bibliomemoir about marriage, motherhood and the works of Doris Lessing. My favorite of the six books I’ve read so far by Lessing is The Grass Is Singing (1950), set on a farm in Zimbabwe.
#6 The Story of an African Farm by Olive Schreiner (1883) is one of the novels I wrote about for my MA dissertation on female characters with unconventional religious views in the Victorian novel. In particular, I looked at the intersection of dissenting religious fiction and the “New Woman” novels that paved the way for Modernism. This is an obscure classic well worth picking up for its early feminist perspective; Schreiner was also a socialist and anti-war campaigner.
My chain has featured only books by women again this month: a few classics, a historical novel with real people in it, an updated modern classic (the Feigel – I’ll discuss its debt to Mary McCarthy’s The Group in my review), and more. The themes have included art, death, feminism, friendship, and religion.
Join us for #6Degrees of Separation if you haven’t already! Next month’s starting book is How to Do Nothing by Jenny Odell.
Have you read any of my selections?
Are you tempted by any you didn’t know before?
Today would have been Doris Lessing’s 100th birthday; she in fact died in 2013. Reading Lara Feigel’s Free Woman last year encouraged me to try more from Lessing, and I’m glad that I did so this month. I started with The Fifth Child, a horror novella for R.I.P., followed by the novel Lessing brought with her when she left Southern Rhodesia (now Zimbabwe) for England.
The Grass Is Singing (1950)
I had trouble believing that this novel a) was Lessing’s debut and b) is now nearly 70 years old. It felt both fresh and timeless, and I could see how it has inspired writing about the white experience in Africa ever since, especially a book like Fiona Melrose’s Midwinter, in which an English farmer and his son are haunted by the violent death of the young man’s mother back in Zambia 10 years ago.
For The Grass Is Singing begins with two sly words, “MURDER MYSTERY”: a newspaper headline announcing that Mary, wife of Rhodesian farmer Dick Turner, has been found murdered by their houseboy. It’s a tease because in one sense there’s no mystery to this at all: we know from the first lines what happened to Mary. And yet we are drawn in, wondering why she was killed and how the Turners went from an idealistic young couple enthusiastic about their various money-making schemes – a shop, chickens, tobacco – to a jaded, distant pair struggling for their health, both mental and physical.
The breakdown of their marriage and the failure of their farm form a dual tragedy that Lessing explores in searing psychological detail, all while exposing (with neither judgment nor approval) how Anglos felt about the natives at that time.
There’s a sense in which this was all fated: Dick is weak, someone Mary pities rather than loves and respects; and Mary’s mixed-up feelings toward her black servants – fear, contempt, curiosity and attraction – were bound to lead to an explosion. The land itself seems to be conspiring against them, too, or is at least indifferent to their plans and dreams.
So many passages struck me for their effortless profundity. I cringed to see myself so clearly in Mary’s boredom and restlessness, along with her ambivalence about the idea of motherhood: “She hated the idea of a baby, when she thought of its helplessness, its dependence, the mess, the worry. But it would give her something to do.”
This was the fifth full-length book I’ve read by Lessing, and by far the best.
Alas, I had a Lessing DNF this month, too:
The Memoirs of a Survivor (1974)
This was shelved in with the memoirs in The Bookshop, Wigtown. I’m not blaming Mr. Bythell or his staff, as this would be a very easy shelving error to make, even for those well versed in literature. But I was disappointed to realize that it’s actually one of Lessing’s detached, dreamy dystopian novels. I tried really hard with this but couldn’t make it past page 48. There’s just not much detail to latch onto. You know that it is set in a vague but believable near future (London?) in which there has been political and social breakdown, followed by gangs, looting and fighting. The narrator hides out in her apartment and is able to live a fairly normal life (“We can get used to anything at all”), at least until an adolescent girl named Emily Cartright is deposited into her care. The novel still feels relevant – the comments on rumor and gossip being as important as news; the sense that the narrator’s generation has ruined things for Emily’s generation and should accept guilt and responsibility – but there is just no plot to speak of.
Next up for me from Lessing’s works will be at least one of her heavily autobiographical Martha Quest novels.
“The fallen Congo came to haunt even our little family, we messengers of goodwill adrift on a sea of mistaken intentions.”
You may have gathered by now that I struggle with rereading. Often I find that on a second reading a book doesn’t live up to my memory of it – last year I reread just four books, and I rated each one a star lower than I had the first time. But that wasn’t the case with my September book club book, Barbara Kingsolver’s The Poisonwood Bible, which I’ve just flown through in 11 days. I first read it in the spring of 2002 or 2003, so maybe it’s that I’d allowed enough time to pass for it to be almost completely fresh – or that I was in a better frame of mind to appreciate its picture of harmful ideologies in a postcolonial setting. In any case, this time it struck me as a masterpiece, and has instantly leapt onto my favorites list.
Here’s what I’d remembered about The Poisonwood Bible after the passage of 16–17 years:
- It’s about a missionary family in Africa, and narrated by the daughters.
- One of the sisters marries an African.
- The line “Nathan was made frantic by sex” (except I had it fixed incorrectly in my mind; it’s actually “Nathan was made feverish by sex”).
Everything else I’d forgotten. Here’s what stood out on my second reading:
- Surely one of the best opening lines ever? (Though technically there’s a prologue that comes before it.) “We came from Bethlehem, Georgia, bearing Betty Crocker cake mixes into the jungle.”
- The book is actually narrated in turns by the wife and four daughters of Southern Baptist missionary Nathan Price, who arrives in the Congo with his family in 1959. These five voices are a triumph of first-person narration, so distinct and arising organically from the characters’ personalities and experiences. The mother, Orleanna, writes from the future in despondent isolation – a hint right from the beginning that this venture is not going to end well. Fifteen-year-old Rachel is a selfish, ditzy blonde who speaks in malapropisms and period slang and misses everything about American culture. Leah, one of the 13-year-olds, is whip-smart and earnest; she idolizes their father and echoes his religious language. Her twin, Adah, who was born with partial paralysis, rarely speaks but has an intricate inner life she expresses through palindromes, cynical poetry and plays on words. And Ruth May, just five years old, sees more than she understands and sets it all across plainly but wittily.
- Nathan’s arrogant response to the ‘native customs’ is excruciating. His first prayer, spoken to bless the meal the people of Kilanga give in welcome, quickly becomes a diatribe against nakedness, and he later rails against polygamy and witch doctors and tries to enforce child baptism. When he refuses to take their housekeeper Mama Tataba’s advice on planting, all of the seeds he brought from home wash away in the first rainstorm. On a second attempt he meekly makes the raised beds she recommended, and keeps away from the poisonwood that made him break out in a nasty rash. This garden he plants is a metaphor for control versus adaptation.
- Brother Fowles, Nathan’s predecessor at the mission, is proof that Christianity doesn’t have to be a haughty rampage. He respects Africans enough to have married one, and his religion is a playful, elastic one built around love and working alongside creation.
- The King James Bible (plus Apocrypha, for which Nathan harbors a strange fondness) provides much of the book’s language and imagery, as well as the section headings. Many of these references come to have (sometimes mocking) relevance. Kingsolver also makes reference to classics of Africa-set fiction, like Chinua Achebe’s Things Fall Apart and Joseph Conrad’s Heart of Darkness.
- Africa is a place of many threats – malaria and dysentery, snakes in the chicken house, swarms of ants that eat everything in their path, corruption, political coups and assassinations – not least the risk of inadvertently causing grave cultural offense.
- The backdrop of the Congo’s history, especially the declaration of independence in 1960 and the U.S.-led “replacement” (by assassination) of its first prime minister, Patrice Lumumba, with the dictator Mobutu, is thorough but subtle, such that minimal to no Googling is required to understand the context. (Only in one place, when Leah and Rachel are arguing as adults, does Kingsolver resort to lecturing on politics through dialogue, as she does so noticeably in Unsheltered.)
- Names are significant, as are their changes. With the end of colonialism Congo becomes Zaire and all its cities and landmarks are renamed, but the change seems purely symbolic. The characters take on different names in the course of the book, too, through nicknames, marriage or education. Many African words are so similar to each other that a minor mispronunciation by a Westerner changes the meaning entirely, making for jokes or irony. And the family’s surname is surely no coincidence: we are invited to question the price they have paid by coming to Africa.
- We follow the sisters decades into the future. “Africa has a thousand ways to get under your skin,” Leah writes; “we’ve all ended up giving up body and soul to Africa, one way or another.” Three of the four end up staying there permanently, but disperse into different destinies that seem to fit their characters. Even those Prices who return to the USA will never outrun the shadow the Congo has left on their lives.
What an amazing novel about the ways that right and wrong, truth and pain get muddied together. Some characters are able to acknowledge their mistakes and move on, while others never can. As Adah concludes, “We are the balance of our damage and our transgressions.”
I worried it would be a challenge to reread this in time to hand it over for my husband to take on his week-long field course in Devon, but it turned out to be a cinch. That’s the mark of success of a doorstopper for me: it’s so engrossing you hardly notice how long the book is. I think this will make for our best book club discussion yet. I can already think of a few questions to ask – Is it fair that Nathan never gets to tell his side of the story? Which of the five voices is your favorite? Who changes and who stays the same over the course of the book? – and I’m sure I’ll find many more resources online since this was an Oprah’s Book Club pick too.
English singer-songwriter Anne-Marie Sanderson’s excellent Book Songs, Volume 1 EP includes the song “Poisonwood.” The excerpted lyrics are below, with direct quotes from the text in bold.
Our Father speaks for all of us
Our Father knows what’s best for us as well
He planted a garden where poisonwood grew
He cut down the orchids cos none of us knew
that the seeds that filled his pockets
would grow and grow without stopping
his beans, his Kentucky Wonders
played their part in tearing us asunder.
Our mother suffered through all of this
Our mother carried the guilt
Carry us, marry us, ferry us, bury us
Carry us, bury us with the poisonwood.
Page count: 615
Five of the books I’ve read recently (most of them while traveling to and from the States) have shared an overarching theme of loss, with mental illness, alcoholism, suicide, and dogs as subsidiary topics running through two or more of them. I hadn’t deliberately chosen these books for their commonalities, so it was uncanny to see the same elements keep popping up. I wanted to come up with some kind of impressively complex Venn diagram to show off these unexpected connections but couldn’t quite manage it, so you’ll have to imagine it instead.
The Archivist by Martha Cooley
Matthias Lane is the archivist of the Mason Room, a university collection of rare books and literary papers. One of its treasures is a set of letters that passed between T.S. Eliot and his friend Emily Hale (held at Princeton in real life). Matt is haunted by memories of his late wife, Judith, a poet incarcerated in a mental hospital for over five years. A reckoning comes for Matt when he’s approached by Roberta Spire, a graduate student determined to view the Eliot–Hale letters even though they’re legally sealed until 2020. The more time Matt spends with Roberta, the more similarities start to arise between her and Judith; and between his situation and Eliot’s when the latter also put his wife away in a mental hospital. The novel asks what we owe the dead: whether we conform to their wishes or make our own decisions.
The Summer without Men by Siri Hustvedt
Thirty years on, poet Mia Fredricksen’s husband Boris asks her for a pause in their marriage so he can explore his feelings for his young French lab assistant. First things first: Mia goes crazy and ends up in a mental hospital for a short time. But then she sucks it up and goes back to her Minnesota hometown to teach poetry writing to teen girls for a summer, getting sucked into a bullying drama. This is a capable if not groundbreaking story of the shifts that occur in a long marriage and the strange things we all do as we face down the possibility of death. There are also wry comments about the unappreciated talents of the female artist. However, compared to the other two novels I’ve read from Hustvedt, this seemed feeble. Still, a quick and enjoyable enough read.
The Dogs of Babel by Carolyn Parkhurst
A delicious debut novel intellectual enough to bypass labels like ‘women’s fiction’ and ‘mystery’. One thing that sets it apart is how successfully Parkhurst writes from the perspective of a male narrator, Paul Iverson, who’s been knocked for six by the sudden death of his wife Lexy, a mask designer. While he was at the university where he teaches linguistics, she climbed to the top of the apple tree in their backyard and – what? fell? or jumped? The only ‘witness’ was their Rhodesian Ridgeback, Lorelei; in his grief Paul uses his sabbatical to research efforts to teach dogs to communicate, hoping one day Lorelei might tell all. Woven through are scenes from Paul and Lexy’s courtship and marriage; though Lexy occasionally struggled with her mental health, their dialogue is fun and zippy, like you might hear on The Gilmore Girls.
The Archivist by Martha Cooley & The Dogs of Babel by Carolyn Parkhurst
Don’t Let’s Go to the Dogs Tonight by Alexandra Fuller
A classic memoir that conjures up all the sights, sounds, smells and feelings of Africa on the cusp of a colonial to postcolonial transition. Fuller’s family were struggling tobacco and cattle farmers in Rhodesia (Zimbabwe), Malawi and Zambia. She had absorbed the notion that white people were there to benevolently shepherd the natives, but came to question it when she met Africans for herself. While giving a sense of the continent’s political shifts, she mostly focuses on her own family: the four-person circus that was Bobo (that’s her), Van (older sister Vanessa), Dad, and Mum (an occasionally hospitalized manic-depressive alcoholic who lost three children) – not to mention an ever-changing menagerie of horses, dogs and other pets. This really takes you away to another place and time, as the best memoirs do, and the plentiful black-and-white photos are a great addition.
Let’s Take the Long Way Home by Gail Caldwell
If you loved Ann Patchett’s Truth and Beauty, pick this up immediately. It’s a similar story of best friends: one who dies and one who survives. Caldwell’s best friend was Caroline Knapp (author of Drinking: A Love Story, among other nonfiction), whom she met via puppy ownership in Cambridge, Massachusetts. They were both single and childless, full-time authors with a history of alcoholism. Besides long walks with their dogs, they loved swimming and rowing together. In 2002 Caroline was diagnosed with stage-four lung cancer, inoperable and already metastasized. Despite all their proactive optimism, she was dead a matter of weeks later. In this moving and accessible short memoir, Caldwell drifts through her past, their friendship, Caroline’s illness, and the years of grief that followed the loss of Caroline and then her beloved Samoyed, Clementine, sharing what she learned about bereavement.
The Dogs of Babel, Don’t Let’s Go to the Dogs Tonight & Let’s Take the Long Way Home
Do you ever find coincidental thematic connections in your reading?
It was a definite case of judging a book by its cover: I saw a photo of Fiona Melrose’s debut novel, Midwinter, on Twitter and – without reading much about it at all – sent off a quick request e-mail to the publisher. All I knew was that it was about a father and son, that it was set in Suffolk, that a fox featured somewhere, and that Zambia was involved somehow. But that was enough to convince me that this was a book I wanted to read.
I had assumed the title would refer to the novel’s setting; although it does take place during the colder months of the year, Midwinter is also the main characters’ last name. Landyn Midwinter and his twenty-year-old son, Vale, are farmers in the Suffolk countryside. They’re both joined and divided by the memory of Vale’s mum Cecilia’s violent death ten years ago in Zambia, where the family had gone to seek their fortune after money troubles on the English farm. Vale blames Landyn for Cessie’s murder, and the past still fuels explosions between them in the present day.
The novel opens with Vale and his best friend, Tom, who were raised like brothers, stealing a boat and going for a drunken nighttime sail. This scene reminded me of the cataclysmic maritime sections of Wyl Menmuir’s The Many and ends in near-disaster. Vale is fine, but as Tom spends the next weeks in hospital it becomes clear that he will not escape undamaged. Vale and Landyn don’t see eye to eye about what Vale owes his friend; they also disagree about Landyn’s sentimental attitude towards animals: farm dogs and chickens, as well as a vixen he is thrilled to see on his land, thinking of her as an emissary from his lost wife.
Vale and Landyn narrate the book in alternating first-person chapters. It’s their country voices and the father–son theme that drive the story. “It could never be the end for me and Vale,” Landyn says. “I didn’t have a choice in it. Been like that how many times since Cessie passed, all beaten and tired and nothing left.” And yet Vale “cut me right where he knew there was fresh meat, the type that doesn’t knit.” Landyn’s voice worked better for me, but I liked how the same themes crop up for both men as they go through the motions of everyday farming life: guilt over bad decisions, a hot temper, and awkwardness around women.
Past and present coexist stylishly through flashbacks to the Midwinters’ brief time in Africa, and there are several climactic scenes of animal deaths, one quite gruesome – something to keep in mind if you are sensitive to such things.
At a certain point, though, the novel started feeling repetitive to me. Some incidents are recounted from both points of view, but the repetition doesn’t add anything. I thought the book could stand to lose 40–60 pages – page 224 would have served as a perfectly good ending, for instance. In fact, the whole thing feels like an early draft: it’s surprisingly poorly edited in terms of punctuation, typos and compound words.
In all, I think this edition of Melrose’s debut novel doesn’t do her justice. Luckily, I was impressed enough by her elegant treatment of fraught relationships and ongoing guilt that I will still be looking out for her future work.
Other books (all by women!) this reminded me of:
- Spill Simmer Falter Wither by Sara Baume
- The Other Side of the World by Stephanie Bishop
- Shame by Melanie Finn [U.S. title: The Gloaming]
- The Story of an African Farm by Olive Schreiner
Midwinter was published in the UK by Corsair on November 2nd. My thanks to Helen Upton of Little, Brown for the free review copy.